Category Archives: Exhibitions

DAAN at College Art Association 2017 in NYC

The Diasporic Asian Art Network [DAAN] is delighted to announce the upcoming DAAN events during the College Art Association 2017 week in New York City from February 16-18, 2017. We hope that you can attend one or all of them!
DAAN GALLERY VISIT: Art 100 Gallery New York
Thursday, February 16
555 West 25th Street, Ground Floor
Free event
5h30pm — Discussion with Art 100 New York Gallery Director Michelle Loh
6h00pm — Exhibition opening reception for Construction and Contemplation: Noa Charuvi, Li Gang
 
About the exhibit:
Construction and Contemplation 
Noa Charuvi, Li Gang
Opening Reception: Thursday, February 16, 2017 6pm-8pm
February 16  – March 31, 2017

Noa Charuvi was born in Jerusalem, and now lives and works in New York City.  She holds a Master’s Degree in Fine Art from the School of Visual Arts in New York and a Bachelor’s Degree in Fine Art from the Bezalel Academy in Jerusalem.   Her work is in the Time Equities collection and has been exhibited internationally, including at the Bronx Museum of Art and the Haifa Museum of Arts in Israel.  

Li Gang was born in Guangdong, China in 1962.  He now lives and works in Beijing. He holds a Bachelor of Fine Arts degree from the Central Academy of Fine Arts in Beijing.  Li’s work has been exhibited in Strasbourg, France, Heidelberg, Germany, the Venice Biennale; and in China at Today Art Museum among others.  His work is held in the collection of the Central Academy of Fine Arts Museum, the Shanghai Artists Association, and the Guangdong Museum of Art.

 Noa Charuvi, White Sheet, Oil on Canvas
 

Li Gang, No 20161018, Ink on Paper

 
DAAN AFFILIATED SOCIETY PANEL CAA:

CANADA 150: Asian Canadians and Visual Culture in National Celebrations

Saturday, Feb 18, 2017
3:30PM – 5:00 PM
New York Hilton Midtown, 1335 6th Ave, New York
Regent Parlor, 2nd Floor
Conference registration required

Chairs: Alice Ming Wai Jim, Concordia University; Victoria Nolte, Carleton University

Souvenirs of the Self and The Long View: Canadian National Parks and the Transnational Asian Canadian Subject within Nature
Jin-me Yoon, Simon Fraser University

Collecting “Strangeness” and “Familiarity”: Asian Canadian Photo-Poetics
Glenn Deer, University of British Columbia

Transnational Kinship, Diasporic Mourning, and Belonging in the Canadian Animation World: The Moving Images of Leslie Supnet’s gains + losses
Marissa Largo, University of Toronto

 

 

Courtesy of the artist. Jin-me Yoon, video still, Other Hauntings: A Geography Beloved (Dance), 2016, Single channel video.
More about Jin-me Yoon’s work: Through the use of gestures, activist Tera maps the geography of Gangjeong village, Jeju Island, South Korea onto her body; the beloved intimate landscape she struggles to preserve in the face ecological and social devastation caused by the recent construction of a Naval Base. A strange apparition, a seaweed-headed soldier of ambiguous gender, troubles our understanding of masculinity as well as the acceptance of military state-sanctioned violence against citizens, creatures small and large, the land, sea and all sustaining life ways.
DAAN DINNER:
After the DAAN panel, we will be gathering to go to Chinatown to visit the changing neighborhood including the new Pearl River Mart with their gallery space now showing work by artist Wiena Lin. We will talk with Pearl River Mart president Joanne Kwong. We will also visit other spaces and end for dinner at August Gatherings, 266 Canal Street (between Cortlandt Alley and Lafayette St). We will also discuss DAAN business at the start of the dinner. Dinner is Dutch treat. Please RSVP to achang@nyu.edu

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“Yong Soon Min: AVM: After Venus (Mal)formation” and “Candice Lin: The mountain” at Commonwealth and Council

Yong Soon MinAVM: After Venus (Mal)formation

Candice LinThe mountain

November 19, 2016—January 7, 2017
New Reception Hours: Saturday, November 19, 5–7PM
Location: 3006 W 7TH ST STE 220 Los Angeles CA 90005
Exhibition Hours: WednesdaySaturday, 12–6PM and by appointment
Closed: Thursday, November 24; Saturday, December 24; and Saturday, December 31
Opening Day Parking: 2904 W 7TH ST

Yong Soon MinAVM: After Venus (Mal)formation
Arteriovenous Malformation (AVM) refers to an abnormal network of blood vessels in which arteries connect directly to veins instead of going through a bed of capillaries. In 2010, Yong Soon Min experienced a massive headache—triggered by the stress of a Korean language proficiency exam—that turned out to be a cerebral hemorrhage. The malformed blood vessels in the left hemisphere of her brain had ruptured, engulfing it in blood. Though AVM surgery removed the tiny abnormality, Min underwent a year-long process of therapy to rehabilitate her affected speech and memory. Even to this day, she confuses pronouns like ‘she’ and ‘he’ and often speaks one word when she means another, disrupting the relationship between the signifier and the signified.

Installed above a printed flooring of Min’s personal library of books and mementos, a decagon-shaped table extends around a partition wall which divides the exhibition space into halves, like the two hemispheres of the brain. The ten sections are cut through with five corresponding pairs of words: pizza/pyramid; diaspora/diarrhea; womb/tomb; happiness/penis; and thank/spank. Across the surface, glass spheres flow along the grooves suggesting synaptic connection between each pair. The benches for the visitors to sit on are carved with phrases based on Min’s memory retrieval of five slogans, including one which she inherited from her parents: 남남북녀 (nam nam buk nyuh), a severe shorthand expression that means: ‘handsome South Korean men are best with beautiful North Korean women.’ In the two corners of the space, wall vinyl of a Vulcan greeting and air quotes connect like a Mobius strip suggesting that cognition is based on a foundation of constructs within which language can elaborate our thoughts, yet becomes susceptible to the slip of the tongue.

“Last Notes and Sketches, Min Tae Yong (1918-2001)” is an homage to Min’s father composed of folded panels in the style of Korean byung poong. The pages are displayed as swiveling windows to reveal marks on both sides. On disposable notepads, her father’s handwritings and diagrams combine complex and sophisticated ideas about physics, revealing an obsessive mind for order and latent cognitive strife. Written in Korean, the panels contain thirteen concepts of the multiverse that defy easy translation. In his “Cognitive Transitive Simulation To Achieve Communication” prose, Min Tae Yong writes about being in a ‘cosmic membrane’ composed of ‘cosmoans, galaxians, starmen,’ and all the anthropic entities whose spirits permeate the cosmos. He ends this page with a series of questions: “Is the spirit strong enough? Is the technology advanced enough? To be able to be on line with them?” This final draft bears the deliberate marks of his revision as he crossed out ‘the’ to replace it with ‘your.’

Candice LinThe mountain

There was a painting of a mountain that hung in the hallway of my childhood. Every evening it would berate me as I lay in my bed, like a cockroach, unable to rise. It called me a silly girl, a cupcake, a deformed puppy, a toenail, and a rock. It told me I was sick and lazy and that I masturbated the wrong way and too much. The painting depicted Humboldt’s mountain and it organized the strata of the world, the plants by their habitual altitude, and the ways that other mountains did or did not measure up.[i]

In the mythologies of the world, flawed superhumans or failed gods are torn apart in fits of rage or jealousy and the fragments of their bodies fall and fossilize, becoming landscape. In plate tectonics, mountains mark the areas where one surface pushes against another fragment of its lost self, a Platonic pansexual Pangeaic dream of earthquakes and never enough. Their grinding is fraught with a mineral desire to change one’s shape, to lose one’s temporary boundaries.

“The mountain” is the sediment—scar tissue built up in a slow accumulation of flesh wounds—pulling, pushing, and burying what was lost in the call and response. Its remnants of historical violence are arbitrary, relegated to the land of folk. This mythology is barely seen because, like skin, it surrounds us.

“The mountain” is a consideration of matter in four different stages: putrefaction, petrification, surface, and memory. Each stage is presented as a tableau of objects upon a reverse glass painting of various textures, mythological scenes collaged with historical and contemporary images. Many of the objects utilize living or natural processes, such as the mineralization of chemicals onto a taxidermied reptile (petrification) or the growth of edible mold on a tondo of resin-preserved mushrooms (putrefaction).

“The mountain” contains an ecosystem of entangled lives. There are silkworms weaving their cocoons which can be used to cleanse and whiten human faces (surface); their spit becomes a shroud to the familiar word “Father” written in George Psalmanazar’s made-up language—an 18th century foreigner who created an idea of the Orient.[ii] The surface is ever-changing.

ºººººººººººº

Memory 1: On one of the four tables, there are mushrooms used for cultivating memory-production. These are hydrated and kept alive by a fine mist of liquid distilled from our communal piss.[iii]
Memory 2: I came home late last night to find two bottles of urine in a brown paper bag slung over my dilapidated fence. It was bottled so beautifully I could not resist a sniff and then a taste. Don’t worry; I kept it for the communal pool, though I was tempted to drink it all. I would guess that the bottle containing less was a vegetable-eater; its flavor of salt was so punctuated by an herbaceousness that it opened my eyes wide. The other one was softer, more mellow and fragrant like metallic earth with a tinge of ocean.

Memory 3: Before you died, you lived for years with a hole cut into your throat and would pour your whisky into your beer to soften the burn. You said you liked mixing things into beer and once you pissed in a cup of beer and gave it to a collector who was annoying you. He didn’t notice the salty taste. But I did.
_____________________________________
[i] I am reminded of a story of a woman who came in really drunk to the tattoo parlor and revealed a tattoo of a giant penis marked as a measuring stick emblazoned on the length of her torso from the crotch up, with Old English Script written above it: “Measure Up.” She asked, “Can you turn this into the Scales of Justice? I’m a firm believer in the Truth.”

[ii] George Psalmanazar was a European who lived in London in the early 1700s within an invented persona as a “Formosan.” He wrote an ethnographic text about his life, culture, language, and religion, and survived for many years on the proceeds and hospitality of hosts who found him exotic and charming.

[iii] Thank you to friends and members of the Commonwealth and Council community for the generous donation of your urine, including Julie Tolentino, Pigpen, Gala Porras-Kim, Ashley Hunt, Jeanine Oleson, Clara López Menéndez, Patrick Staff, Joel Freeman, Jennifer Moon, laub, David Bell, Cirilo Domine, Patricia Fernández, Eduardo Consuegra, Elana Mann, Tala Mateo, Yong Soon Min, Benjamin Love, Danielle Dean, Young Joon Kwak, Marvin Astorga, Kang Seung Lee, Geoffrey Wall, Jen Smith, Olga Koumoundouros, Michael Ned Holte, and Alice Könitz. Our collective urine will be distilled into a fluid resembling water, but retaining a high mineral content and any pharmaceutical or hormonal properties ingested by the contributors.
LAMOA DS#3 presents podKelly AkashiAnne Cousineau, and Danielle Dean organized by laub

November 19, 2016—March 4, 2017

As we inject our future into the materiality of things, where is our bodily focus? Who are we within our constructed reality? In Jane Bennett’s Vibrant Matters, we are introduced to our not so stranger, discarded selves—stacked within the homes of hoarders, swirled into plastic islands in oceans and clogged inside storm drains. What Bennett encourages is a conversation with the thingness that surrounds us. Similar to Karen Barad’s idea of intra-action, which can be described as “the mangling of people and things and other stuff’s ability to act” from within the relationship rather than from outside of it. Our porous bodies are enmeshed with the thingness of our industrialized, formalized, and consumerized, product-driven, global warming selves. It is amidst this seemingly apocalyptic time that we begin to understand what this entanglement entails for the future of life as we know it.
Kelly Akashi, as artist as alchemist, explores materials that melt, harden, shape and reshape invoking unseen essences of what an object is, was, and is to become. Anne Cousineau works with organic materials that decay and transform, queering notions of permanence, stability, and time. Danielle Dean’s video, BioWhite, materializes social constructs of racism by paralleling Louis Kahn’s excessive use of concrete with the burgeoning of skin lightening enterprises.

Kelly Akashi lives and works in Los Angeles, and has studied at the University of Southern California, Los Angeles (MFA); Städelschule, Frankfurt am Main; and Otis College of Art and Design, Los Angeles (BFA). Her work has recently been shown at the Hammer Museum (Made in L.A. 2016: a, the, though, only); David Roberts Art Foundation, London; Astrup Fearnley Museum of Modern Art, Oslo; The Jewish Museum, New York; Shanaynay, Paris; White Flag Projects, Saint Louis; Tomorrow Gallery, New York (solo); Michael Jon & Alan, Miami (solo); Midway Contemporary Art, Minneapolis; and Château Shatto, Los Angeles. Akashi’s solo exhibition, Being as a Thing, is currently on view at Ghebaly Gallery in Los Angeles until December 23, 2016.

Anne Cousineau is an artist living and working in Los Angeles. Through material investigations, Anne entangles cultural notions of the synthetic and organic to consider questions of the body within nature. They received a BFA in Painting from The Rhode Island School of Design and are currently a MFA candidate at The Milton Avery Graduate School of the Arts, Bard College.

Danielle Dean’s work draws from her multi-national background of being English, American, and Nigerian. Her work explores the colonialism of mind and body—the interpellation of the subject by power structures working through digital media, news, and advertising. She focuses on target-marketing practices that reinscribe markers such as race, gender, age, etc. She is interested in subverting such processes toward a non-essentialized space of being. Solo exhibitions include: Focus, The Studio Museum in Harlem, New York; and Hexafluorosilicic, Commonwealth and Council, Los Angeles. Group exhibitions include: Shifters, Art in General, New York; It Can Howl, Atlanta Contemporary Art Center, Atlanta; What Shall We Do Next, Diverse Works, Houston; and Made in L.A. 2014, the Hammer Museum, Los Angeles. Her video work was recently screened at MOMA PS1, New York. Residencies include: The Whitney’s Independent Study Program, New York; and The Core Program, Houston. Dean is a Rema Hort Mann Foundation and Creative Capital awardee, and received her MFA from California Institute of the Arts and BFA from Central St Martins.
Commonwealth and Council
3006 W 7TH ST STE 220
Los Angeles CA 90005
213 703 9077
www.commonwealthandcouncil.com

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Deadline extended to Dec. 16th! AAWAA and APICC’s Shifting Movements call for entries

 

DEADLINE EXTENDED: Friday, December 16th, 201611:59PM

“More than anyone, I believe Yuri understood the transformative power of culture, and embraced the ways art could unite and sustain us in times like these. She invited the artists in all of us to step up and express who we are
and what we stand for.”   – Tomie Arai, Artist

**Artists of ALL genders and ethnicities encouraged to apply.**
Works-in-progress accepted.

Co-Presented by: Asian American Women Artists Association (AAWAA)
and API Cultural Center (APICC)

Exhibition Dates: May 4 – 25th, 2017
Venue: SOMArts Cultural Center, 934 Brannan St. San Francisco, CA 94103

Shifting Movements: Art Inspired by Life and Activism of Yuri Kochiyama (1921-2014) is a multimedia exhibition, organized by the Asian American Women Artists Association (AAWAA), illuminating the legacy of intersectional revolutionary activist Yuri Kochiyama.

Artists of all mediums are invited to submit artworks that embody the key values, themes and milestones from Kochiyama’s prolific and galvanizing life – and how it relates to our contemporary context. Artwork need not reference Kochiyama explicitly, and artists need not have previous knowledge of Yuri Kochiyama’s biography to apply.
Some Key Themes Include:

  • Intersectional understanding and approach to civil rights struggles and the importance of intercultural solidarity and cooperation
  • Defying stereotypes of Asian American women and occupying spaces that transgress boundaries
  • Connecting and Community building through radical hospitality and sharing
  • Commitment to the unrecognized and unglamourous work necessary to support movements, and repeating small gestures that accumulate to create significant change
  • Supporting Political Prisoners and fighting against the Prison Industrial Complex
  • Standing against U.S. and global military aggression

Jurors:
Melorra Green, Curator and Artivist
Margaret Rhee, Artist, Writer, and Scholar (University of Oregon)

Curator:
Michelle A. Lee (Eating Cultures, Hungry Ghosts)

Participating Artists:
Tomie Arai
Sigi Arnejo
People’s Kitchen Collective

Exhibition Partners:

ELIGIBILITY: Open to all artists of any gender identification in the United States, 18 years and older.

ENTRY FEE: All non-AAWAA member artists must submit an entry fee of $35 with their application in order to be eligible. AAWAA member fee is $25.

DEADLINE: Friday, December 16th, 2016 11:59PM PST

For more information about the exhibition, application, and Yuri Kochiyama Primer, please visit our website. Read More >>

APPLY NOW

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Witness to Wartime: Takuichi Fujii at Boise Art Museum, Curated by Barbara Johns, PhD

WITNESS TO WARTIME
TAKUICHI FUJII

CURATED BY BARBARA JOHNS, PhD

Minidoka, montage with fence and landmarks

Minidoka, montage with fence and landmarks

Witness to Wartime: Takuichi Fujii introduces an artist whose work opens a window to historical events, issues, and ideas far greater than the individual. Takuichi Fujii (1891 – 1964) bore witness to his life in America and, most especially, to his experience during World War II. Fujii left a remarkably comprehensive visual record of this important time in American history, and offers a unique perspective on his generation. This stunning body of work sheds light on events that most Americans did not experience, but whose lessons remain salient today.

Takuichi Fujii was fifty years old when war broke out between the United States and Japan. In a climate of increasing fear and racist propaganda, he became one of 120,000 people of Japanese ancestry on the West Coast forced to leave their homes and live in geographically isolated incarceration camps. He and his family, together with most ethnic Japanese from Seattle, were sent first to the Puyallup temporary detention camp on the Washington State Fairgrounds, and in August 1942 were transferred to the Minidoka Relocation Center in southern Idaho.

Confronting such circumstances, Fujii began an illustrated diary that spans the years from his forced removal in May 1942 to the closing of Minidoka in October 1945. In nearly 250 ink drawings ranging from public to intimate views, the diary depicts detailed images of the incarceration camps, and the inmates’ daily routines and pastimes. Several times Fujii depicts himself in the act of drawing, a witness to the experience of confinement. He also produced over 130 watercolors that reiterate and expand upon the diary, augmenting those scenes with many new views, as well as other aesthetic and formal considerations of painting. Additionally the wartime work includes several oil paintings and sculptures, notably a carved double portrait of Fujii and his wife.

Minidoka, grieving women

Minidoka, grieving women

After the war Fujii moved to Chicago, which had become home to a large Japanese American community under the government’s resettlement program. He continued to paint, experimenting broadly in abstraction, and toward the end of his life produced a series of boldly gestural black-and-white abstract expressionist paintings. These, and his American realist paintings of the 1930s, frame the wartime work that is his singular legacy and remains relevant today.

Selections from this powerful exhibition will be featured at the Boise Art Museum, Boise, ID,  in the exhibition, Minidoka: Artist as Witness (October 8, 2016 – January 15, 2017).

 

AVAILABLE NOW FOR TRAVEL

Minidoka, INS officers

Minidoka, INS officers

Highlights from the prospectus and website:


FEE
$15,000 per 8 week period, plus prorated shipping

NUMBER OF OBJECTS
82 (oil paintings, watercolors, ink drawings, books, sculpture, and a digitized visual diary)

SPACE REQUIREMENTS
250 to 300 linear feet (76.2 x 91.4 linear meters)

PUBLICATION
Barbara Johns, The Hope of Another Spring
(Seattle: University of Washington Press, 2017)

LECTURE
Curator available

BOOKING
Laura Sumser, Exhibitions Manager
laura@curatorial.org | 626.577.0044

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INDO AMERICAN ARTS COUNCIL presents ERASING BORDERS 2016 Erasing Borders Exhibition of Contemporary Indian Art of the Diaspora — July 14-August 17, 2016

INDO AMERICAN ARTS COUNCIL  
presents

ERASING BORDERS 2016
Erasing Borders Exhibition of Contemporary
Indian Art of the Diaspora

Opening Reception: Thursday July 14th, 2016. 6:00-8:00 pm.

The Exhibition will remain open from July 14-August 17, 2016

Kapoor Galleries, 34East 67th Street (between Madison & Park), NYC.

Exhibitions are Free and Open to the Public
RSVP: ebart.iaac@gmail.com

for Map and Directions click here .

IAAC ERASING BORDERS 2016

Erasing Borders is a richly provocative exhibition by artists of the Indian diaspora who confront issues of sexuality, terror, disease, the environment, racial and sectarian politics in painting, prints, installations, video, and sculpture. With great technical mastery and diversity of theme and style, these works combine traditional Indian aesthetics with Western elements, and speak to the powerful experience of personal and cultural dislocation in the global village. In its twelfth year, Erasing Borders is curated by Vijay Kumar and produced by the Indo-American Arts Council. Free and open to the public.

Participating Artists: (Click on the artists name for details): Anna Bradfield, Anujan Ezhikode,Arun Prem, Bivas Chaudhuri, Bolo, Delna Dastur, George Oomen, Indrani Nayar Gal, Mansoora Hassan, MD Tokon, Nipun Manda, Norbert Gonsalves, Padmini Mongia, Parul Mehra, Quinza Najm, Pooja Gupta, Radhika Mathews, Rahul Mehra, Reeta Gidwani Karmarkar, Renuka Khanna,Rochana Dubey, Sejal Krishnan, Tara Sabharwal, Uday K Dhar

The Indo-American Arts Council is a 501 ©3 not-for-profit secular arts organization passionately dedicated to promoting, showcasing and building an awareness of artists of Indian origin in the performing arts, visual arts, literary arts and folk arts. For information please visit www.iaac.us

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Summercamp’s ProjectProject: Unseen Opening Sunday, July 24th

Summercamp’s ProjectProject: Unseen
Opening Sunday, July 24th

Summercamp’s ProjectProject
Unseen

Allison Alford & Dai Toyofuku
Audrey Chan
Jay Erker
Brian Getnick
Nicholette Kominos
Ruby Osorio
Thinh Nguyen
Elyse Reardon-Jung
Jesse Robinson
Geneva Skeen
Semi-Tropic Spiritualists
Carrie Whitney
and Amir H. Fallah in Guestroom

Unseen July 24th—August 7th, 2016
Opening Reception: Sunday July 24th 5—8PM

3119 Chadwick Drive, Los Angeles, CA 90032
summercampprojectproject.org
Hours by appointment, please contact summercampprojectproject@gmail.com

Summercamp’s ProjectProject presents Unseen. An outdoor group exhibition bringing together artists whose work reveals underlying magic, psychic phenomena, and textural sound as well as dealing with elements that support and balance, issues of injustice, and social practices. Organized by Fatima Hoang, Elonda Norris & Janice Gomez.

Astri Swendsrud and Quinn Gomez-Heitzeberg’s sculptural information kiosk introduces the audience to their history and projected future of utopian thinking and occult practice through the Semi-Tropic Spiritualists, an organization that created a campsite meeting place outside the city limits of Los Angeles in 1905. Through their installations and performance work, this community is being re-created as a model for exploring ideas of faith and skepticism, belief and charlatanism, and utopian social ideals.  InGoatspace, Ruby Osorio’s works explore fantasy, which she defines as the state of mind she finds herself in when encountering ambiguity.  In this state, there is a thin line between memory and fantasy—fantasy can fix itself in the memory to the point of becoming real. Osorio Walks this line using literature, vintage photographs and botanical reference books as source material to explore the uncanny and enigmatic.

In her practice, Jay Erker creates “potential spaces,” which is a psychological term conceived by the British psychologist D. W. Winnicott to designate a conceptual space or a state of mind based upon a series of dialectical relationships: fantasy/reality, I/other, symbol/symbolized, etc., in which each idea affects and transforms the other in a state of perpetual becoming and destruction. For Unseen, Erker’s audio text of essay, lyrical poetry, sound art, and performance addresses the space and environment specifically, and generally address the experience of the art and people. Carrie Whitney questions the sensory experiences in the world for the “unseen” to compete with by investigating its existence. To experience this requires a curiosity and a willingness to listen. In this work a space is created with familiar objects that stereotypically remind us of what could be worn to conjure the unseen.

Dispersed throughout the hillside below the Summercamp patio, Geneva Skeen’s multi-channel sound work is composed of field recordings from the site and surrounding neighborhood. The sound piece will be fragmented into hyper-specific corners of the hillside. The installation itself seeks to provoke an internal dialogue between the listener and the idea of an individual’s position within a complex, tiered environment, both literally and metaphorically.  Jesse Robinson couples ready-made objects with fabricated sculptural forms staging conversations in which the language of sculpture collides with the language of consumerism. Using the conventions of display, he examines how these two different, yet related, formal structures shape desire and the relationships we have with things. While Nicholette Kominos’ constructions are based on simple forms inspired by commonplace or everyday objects, she utilizes the context of familiarity to explore how complex and informative the ordinary can be.

Two ceremonial spaces invoking forgotten ties between humans and plants will be led by Allison Alford and Dai Toyofuku. Other collaborators include a resident fig tree, along with an oak tree, several elderberry and black walnut trees, sages and buckwheat from the Lower Arroyo. This event during Unseen is one of an ongoing series of secret rituals that will be performed throughout the summer and the only ritual made available to the public. Human visitors will have the opportunity to participate in communion, blessing, and healing rites.

Elyse Reardon-Jung’s most current work investigates tropes of art history with an emphasis on the delicately absurd and the politely idiotic. Using the illumination of ill-repute, neon, to represent simplified Odalisque nudes, we can consider the liberal way we consume the female form.  Although a well trod path, She is ever curious at the way the female body becomes a repository for hyper loaded cultural signifiers/baggage. Using simple execution and transparent materials, loaded with the weight of constant use. The familiar subject and familiar materials are meant to feel relatable as well as fairly silly. The absurd can be an entry point, a gateway to serious consideration. Audrey Chan’s flag features a series of Sculpey figurines made to resemble the editors of the zine “Would Be Saboteurs Take Heed” carrying heroic personal attributes. By fashioning these figurines, she wants to reconsider and invert the tropes and representational politics of the heroic statue in Western art—as large in scale, predominantly male, nude, idealized, and Western or European in identity. The figurines are diminutive, honor Asian American individualism and diversity, and resist totalizing and stereotypical representations. They propose a new set of heroes for intersectional and biomythographical narratives.

Thinh Nguyen’s current work examines non-binary identity and vulnerability. He reclaims his feminine superego, Long Long, from childhood memories of growing up and wearing dresses. While performing songs he wrote in response to the current sociopolitical climate, Nguyen will be wearing one of the his functional biomorphic sculptures made of reclaimed dresses. Straddling the line between beauty and grotesque, Brian Getnick presents a series of sculptures that brings to mind what once was, could have been, and is now.

And as a compliment to Unseen, Amir H. Fallah will be featured in Guestroom. Fallah’s approach to art making is akin to the process of an archaeological dig. Fallah investigates his subject’s lives through the analysis of their personal belongings, becoming the arbiter of these individuals’ histories, curating found elements into contemporary portraiture. Through this process he does not attempt to beautify or flatter his subjects, but instead focuses on integral points of their lives that subsequently shaped who they were as individuals. In direct opposition to the history of portraiture, he hides the true identity of his subjects by cloaking them in vivid, patterned fabrics found amongst their belongings. The viewer is forced to craft an identity for the subjects through their own interpretation of the curated elements presented.
Through the process of art making and the employment of contemporary portraiture, Fallah explores the realms of truth through storytelling. Obsessive consideration of truth’s limitations can help us understand one another, and this examination of identity is the keystone of his practice.

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VACATING AND INHABITING: HANNA SHIM . KRYSTIE WADE . KERRY ANN LEE . ERIN FORSYTH

VACATING AND INHABITING

HANNA SHIM  .  KRYSTIE WADE  .  KERRY ANN LEE  .  ERIN FORSYTH

12 July – 7 August, 2016
Preview: Tues 12 July, 5.00 – 7.30pm

Within Vacating and Inhabiting, there exists an underlying sense of playfulness, but also
disorientation, as the audience is required to navigate the surreal, dreamlike interiors,
landscapes, and installations…>>

WHITESPACE is now open on Sundays
for your viewing pleasure. 11.00am – 3.00pm

  

Whitespace  |  12 Crummer Rd  |  Ponsonby  |  Auckland
Gallery Hours  
|  Tues to Fri 11-5pm  |  Sat 11-4pm   |  Sun 11-3pm
dwhite@whitespace.co.nz
  |  http://www.whitespace.co.nz/ 

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Hyong Nam Ahn: The Secret of Peace at Art Mora Gallery, NYC

Hyong Nam Ahn: The Secret of Peace

March 10-23, 2016 

Opening Reception: Thursday, March 10, 6-8pm

Art Mora Gallery

547 W. 27th St. #307, New York, NY 10001
212-564-4079

Hyong Nam Ahn

The AHL (Art, Humanity, Love) Foundation is delighted to present The Secret of Peace, Hyong Nam Ahn’s solo exhibition curated by Eun Young Choi. The exhibition will showcase Ahn’s most recent sculptures and wall pieces along with his delicate lyrical drawings.

Ahn uses a variety of materials such as cut out aluminum forms, stainless steel rods, wood, stone, and oil paint as well as environmental factors such as wind as metaphors that allude to the natural environment. Ahn’s sensitivity to equilibrium, light and movement is accentuated by his use of these disparate materials in a fluid dialogue with each other.

In fact, the use of technology and industrial materials such as neon lights in combination with natural materials and motifs are more of a reference to the dichotomy of our environment that encompasses both the manmade and the natural rather than a critique on industrialization or consumerism. The various elements seem fractured yet balanced, engaging the viewer into a sophisticated dialogue about philosophy, nature, progress, technology, and spirituality.

Ahn’s poetic and lyrical sculptures and drawings embody both the artist’s spontaneous gestures as well as the refined technical sophistication of his craftsmanship to capture the vitality of both the physical and the spiritual world. While Ahn’s geometric shapes allude to natural motifs, his expressive linear elements and use of neon lights can be linked to the long history of Asian meditative calligraphic brush strokes. Ahn’s elegantly choreographed lyricism and the raw power of the medium embody the complex balance of nature, harmony and peace.

Hyong Nam Ahn (b 1955, Korea) earned his BFA and MFA from the School of the Art Institute of Chicago. Inspired by Kinetic Art of the 1960s, his sculptures integrate lights, sounds, and movements. Ahn has exhibited extensively including solo and group exhibitions at the Museum of Contemporary Art, Chicago; Tweed Museum, University of Minnesota; Ohio University Art Museum; Arlington Cultural Art Museum, Columbus, OH; Lake View Museum of Art & Science, Peoria, IL; SoMa Museum of Art, Seoul, Korea; and Laciudad Museum, Madrid, Spain among many others. Ahn has received numerous commissions for public sculptures from notable institutions and corporations such as McDonald Corporation in Kirkland, WA; The Mayor’s Advisory Committee on Art & Culture, Baltimore, MD; and McCormick Place Donnelly Hall World Convention Center, Chicago, IL.

Eun Young Choi, Director of Programs at AHL Foundation, is a New York-based curator, artist, museum educator and arts administrator originally from Seoul, Korea. She holds a MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago. Choi has organized exhibitions and cultural events in collaboration with various organizations including the New Museum’s IDEAS CITY Festival, National Academy Museum, United Nations Headquarters, and Asian American Art Centre. Her exhibitions and programming have been featured in the New York Times, New York magazine, VOGUE magazine, The Brooklyn Rail, Artcritical and numerous other media outlets.

 

About the AHL Foundation

AHL (Art, Humanity, Love) Foundation is a 501(c)3 visual arts organization with a mission to support Korean artists living in the United States and is committed to promoting and providing greater exposure of their work. Founded by Sook Nyu Lee Kim in 2003, the AHL Foundation has been committed to seeking and promoting talented Korean and Korean-American artists while building a wider public awareness of the important cultural contributions made by these artists. Other AHL programs include commissions, exhibitions, art history classes, public lectures, museum and gallery tours along with professional development opportunities for artists through studio visits, the AHL Forum, Visual Art Awards and Project Grants.

This exhibition is organized by the AHL Foundation with the generous support from the New York State Council on the Arts, New York City Department of Cultural Affairs, Jason J. Kim Oral Design, KISS Products and numerous other donors.

For additional information about our programs please visit www.ahlfoundation.org. For inquiries about the exhibitions, please contact us at info@ahlfoundation.org or 516-983-3935.

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INVASION OF THE PODS JAMES WONG curated by MARY TING at Chinese American Arts Council, NYC

CAAC
INVASION OF THE PODS
JAMES WONG
Curated by MARY TING

PODS侵略
黄仕荣
丁維瑾策展

Chinese American Arts Council
456 Broadway, 3rd Floor
New York, NY 10013

Exhibition/展期: 3.10 – 4.15.2016
Reception/茶會: 3.10.2016, 6-8pm

Exhibition Statement
James Wong, a Chinese American self taught artist has been working non-stop for the past thirty years on his Future War marker drawings. This exhibition, James Wong: Invasion of the Pods features his recent large multi panel works and the proliferation of pods– small flying ships, some that are robots, others with pilots. These works range from two feet to eight feet long in a narrative comic strip format.

With an oeuvre of some six thousand five hundred drawings to date, James Wong is immersed in his invented worlds at war. Each military force is complete with its own logo, transportation fleet, war machines, arsenal, and personnel. Intense color, bold design and minute linear details are the calling card of James’ work. Drawings are created first with a black! marker outline and templates, then followed by intense colori! ng into the wee hours. In the artwork of James Wong, the iconography of model airplanes, comic books, and architectural blue print drawings merges with game design, avatars and war technology.

Born in Hong Kong in 1972, James grew up in New York City Chinatown and went to New York’s Art and Design High School. His work has been exhibited at Cooper Union, Margaret Bodell Gallery, Henry Street Settlement, Cuchifritos and American Primitive Gallery, all in New York City.

For more information visit http://www.caacarts.org/dp/?q=/node/15&id=248

展覽論述
黄仕荣是位自学成材的美籍华裔艺术家,过去三十年一直创作一系列「未来大战」麦克笔画作。是次展览「黄仕荣:机械人侵略」展出他近期的大型多画板作品,而Pods 的增值。黄仕荣创造的Pods 是一种小飞物, 有的是机器人,有的 有飞行�‘! �。是次展览的作品长两至八呎,形式为叙述性连漫画格式。

直至现在,黄仕荣已创作了超过六千五百幅画作,沉浸于他创作的战争世界:每个军事力量都有自己的标志、车队、武器、军器厂和军人。他的画作以强烈色彩、大胆设计和细致线条见称。这些作品先以黑色麦克笔起草,再以强烈颜色上色至夜深。在黄仕荣的画作中,模型飞机、漫画和建筑蓝图的意象与游戏设计、人物造型和战争技术融合。

黄仕荣1972年生于香港,在纽约市唐人街长大,就读纽约的艺术及设计高中(Art and Design High School)。其画作曾于纽约市的库珀联盟(Cooper Union)、玛格丽特波代尔画廊(Margaret Bodell Gallery)、亨利街社福艺术中心(Henry Street Settlement),Cuchifritos画廊(Cuchifritos)和美国原始画廊(American Primitive Gallery)展出。

點選更多�³! �訊 http://www.caacarts.org/dp/?q=zh-hant%2Fnode%2F15&id=248

Chinese American Arts Council and Gallery 456 are supported, in part, by public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo & the NYS Legislature; The City of New York Department of Cultural Affairs in partnership with the City Council; and many other friends.

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DAAN-NY tour of Alternative Dimension

https://www.facebook.com/events/1673529579551782/

Please join this DAAN-NY regional event!

DAAN-NYEventpic

at 3 PM – 6 PM
Project:ARTspace
156 Fifth Avenue, Suite 308
New York, NY 10010

 

Are you an artist/curator/scholar of the Asian diaspora in NYC? want to connect with others in the Diasporic Asian Arts Network (DAAN)? Meet up with DAAN-NY at Project:ARTspace on February 28th from 3pm-6pm.

Michelle Yoh will give us a tour of Alternative Dimension, her most recent curation featuring the work of Lisa Corinne Davis and Maureen Hoon.

Here’s info on the show:
Alternative Dimension
Lisa Corinne Davis, Maureen Hoon
Curated by Michelle Y. Loh

We construct our imagination and identity, to a great extent, based on recorded images and predefined concepts, received labels and fictions that allow us to make quotidian sense of the world. Questioning our received labels and fictions provides an opening where we can access our imagination and identity anew. Coming from different generations, raised in different hemispheres, Lisa Corinne Davis and Maureen Hoon creates works that are different on the surface, yet both artists bend representations of the physical world to a similar purpose. Drawing references from the urban environment, their works allude to materiality, space, image, and affect, and provide access to new ways of seeing and understanding.

http://projectartspace.com/exhibition/alternative-dimensions/

If you want to become a DAAN member to include your profile on the DAAN listing or to sign up for emails, visit http://www.nyu-apastudies.org/research/DAAN/?page_id=5

 

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